Rio de Janeiro ( Portuguese pronunciation: [ˈʁi.u dʒi ʒɐˈne(j)ɾu] , [ˈʁi.u dʒɐˈ-] ) is one of the 27 federative units of Brazil . It has the second largest economy of Brazil, with the largest being that of the state of São Paulo . The state, which has 8.2% of the Brazilian population, is responsible for 9.2% of the Brazilian GDP .
186-495: Samba ( Portuguese pronunciation: [ˈsɐ̃bɐ] ) is a name or prefix used for several rhythmic variants, such as samba urbano carioca ( urban Carioca samba ), samba de roda (sometimes also called rural samba), amongst many other forms of samba, mostly originated in the Rio de Janeiro and Bahia states. Samba is a broad term for many of the rhythms that compose the better known Brazilian music genres that originated in
372-424: A barline , indicates a change of meter . Most time signatures are either simple (the note values are grouped in pairs, like 4 , 4 , and 4 ), or compound (grouped in threes, like 8 , 8 , and 8 ). Less common signatures indicate complex , mixed , additive , and irrational meters . Most time signatures consist of two numerals, one stacked above
558-420: A collective, anonymous creation, registering it as his own. The central part of the song would have been conceived in the traditional improvisations in meetings at Tia Ciata 's house. Sinhô claimed the authorship of the chorus "ai, se rolinha, sinhô, sinhô" and created another song lyrics in response to Donga. However, Sinhô himself, who would consolidate himself in the 1920s as the first important figure of samba,
744-419: A convention that some composers follow (e.g., Olivier Messiaen , in his La Nativité du Seigneur and Quatuor pour la fin du temps ) is to simply omit the time signature. Charles Ives 's Concord Sonata has measure bars for select passages, but the majority of the work is unbarred. Some pieces have no time signature, as there is no discernible meter. This is sometimes known as free time . Sometimes one
930-478: A discernibly regular pulse. If two time signatures alternate repeatedly, sometimes the two signatures are placed together at the beginning of the piece or section, as shown below: To indicate more complex patterns of stresses, such as additive rhythms , more complex time signatures can be used. Additive meters have a pattern of beats that subdivide into smaller, irregular groups. Such meters are sometimes called imperfect , in contrast to perfect meters , in which
1116-456: A functional, rhythmic or thematic trend – such as "samba à moda baiana" (samba in the Bahian style), "samba-batucada", "samba-jongo", "samba-maxixe" -, although some sounded quite inconsistent – such as "samba à moda agrião" (samba in the watercress style), "samba epistolar" (epistolary samba) and "samba fonético" (phonetic samba). In other cases, it was music critics that imputed pejorative labels with
1302-399: A high party samba with refrains sung to the marked rhythm of the palms and the plates shaved with knives, this samba it was also influenced by the maxixe. It was in the following decade that a new model of samba would be born, from the hills of Rio de Janeiro, quite distinct from that of the amaxixado style associated with the communities of Cidade Nova. Between the end of the 19th century and
1488-413: A meter, just noted with eighth notes, quarter notes, half notes, or whole notes – these conventionally imply different performance and different tempi. Conventionally, larger numbers in the bottom correspond to faster tempi and smaller numbers correspond to slower tempi. This convention is known as tempo giusto , and means that the tempo of each note remains in a narrower, "normal" range. For illustration,
1674-460: A model for carnival performances in procession and for future samba schools born in the hills and suburbs of Rio. A political and socio-cultural epicenter of Brazil, based on slavery , Rio de Janeiro was strongly influenced by African culture . In the middle of the 19th century, more than half the population of the city – then capital of the Brazilian Empire – was formed by black slaves . In
1860-670: A more specific description is any meter which combines both simple and compound beats. Irregular meters are common in some non-Western music, and in ancient Greek music such as the Delphic Hymns to Apollo, but the corresponding time signatures rarely appeared in formal written Western music until the 19th century. Early anomalous examples appeared in Spain between 1516 and 1520, plus a small section in Handel's opera Orlando (1733). The third movement of Frédéric Chopin 's Piano Sonata No. 1 (1828)
2046-517: A new generation of performers broke out, such as Jonjoca, Castro Barbosa , Luís Barbosa [ pt ] , Cyro Monteiro [ pt ] , Dilermando Pinheiro, Aracy de Almeida , Marília Batista [ pt ] . Another highlight was the singer Carmen Miranda, the greatest star of Brazilian popular music at that time and the first artist to promote samba internationally. Renowned in Brazil, Carmen continued her successful artistic career in
SECTION 10
#17328518532762232-512: A pejorative used to refer to the bureaucratic elite of the Federal District. Only when the city lost its status as Federal District (to Brasília ) and became the State of Guanabara in 1960 did carioca become an official demonym along with guanabarino . In 1975, Guanabara State was incorporated into Rio de Janeiro State, becoming the present City of Rio de Janeiro. Carioca became the demonym of
2418-507: A piece may not be best described as being in one meter, but rather as having a switching mixed meter. In this case, the time signatures are an aid to the performers and not necessarily an indication of meter. The Promenade from Modest Mussorgsky 's Pictures at an Exhibition (1874) is a good example. The opening measures are shown below: Igor Stravinsky 's The Rite of Spring (1913) is famous for its "savage" rhythms. Five measures from "Sacrificial Dance" are shown below: In such cases,
2604-531: A quarter note might correspond to 60–120 bpm, a half note to 30–60 bpm, a whole note to 15–30 bpm, and an eighth note to 120–240 bpm; these are not strict, but show an example of "normal" ranges. This convention dates to the Baroque era, when tempo changes were indicated by changing time signature during the piece, rather than by using a single time signature and changing tempo marking. For example, while 8 , 4 , 2 , and 1 have
2790-424: A recurring pulse, or beat , usually in the range of 60–140 beats per minute. Depending on the tempo of the music, this beat may correspond to the note value specified by the time signature, or to a grouping of such note values. Most commonly, in simple time signatures, the beat is the same as the note value of the signature, but in compound signatures, the beat is usually a dotted note value corresponding to three of
2976-425: A significant share of industry and little influence on the agricultural sector, which represents only 0.4% of the product gross domestic state. In the past, sugar cane and later, coffee had a considerable impact on the economy of Rio de Janeiro. The area around Campos dos Goytacazes was most affected by the fall of sugar cane: at the beginning of the 20th century, Campos had 27 mills in operation and, throughout
3162-413: A simple time-signature with triplets translates into a compound meter. The choice of time signature in these cases is largely a matter of tradition. Particular time signatures are traditionally associated with different music styles—it would seem strange to notate a conventional rock song in 8 or 2 , rather than 4 . In the examples below, bold denotes
3348-485: A slower, compound time. However, there are two different-length beats in this resulting compound time, a one half-again longer than the short beat (or conversely, the short beat is 2 ⁄ 3 the value of the long). This type of meter is called aksak (the Turkish word for "limping"), impeded , jolting , or shaking , and is described as an irregular bichronic rhythm . A certain amount of confusion for Western musicians
3534-405: A sub-genre typified in this way in the 1930s because of the lyrics and melody, which must comprise the poetic summary of the theme chosen by the samba school for its carnival parade. Samba-de-terreiro – or also samba de quadra – was a short-tempo samba modality, with the second most measured part that prepares the bateria for a more lively return to the beginning. Its format was also consolidated in
3720-418: A view to disapproving certain aesthetic changes or fashion trends – as in the disparagingly called sambalada and sambolero for stylistic nuances the samba-canção. Established in the radio era as one of the main sub-genres of samba, the samba-canção style emerged among professional musicians who played in the revues of Rio de Janeiro in the late 1920s and early 1930s. Although the term began to circulating in
3906-618: A year. According to the IBGE of 2022, there were 16,055,174 people residing in the state. The population density was 367 inhabitants per square kilometre (950/sq mi). Urbanization : 96.9% (2004); Population growth : 1.3% (1991–2000). The last PNAD (National Household Survey) census revealed the following numbers: 6,739,901 White people (42.0%), 6,682,740 Pardo ( Multiracial ) people (41.6%), 2,594,253 Black people (16.2%), 21,837 Asian people (0.1%), 15,904 Amerindian people (0.1%). People of Portuguese ancestry predominate in most of
SECTION 20
#17328518532764092-473: Is "Carinhoso", by Pixinguinha , released as choro in 1917, received lyrics and ended up relaunched two decades later, in the voice of Orlando Silva, with great commercial success. In the following decade, Waldir Azevedo would popularize chorinho, a kind of fast-moving instrumental samba. Widespread during the Estado Novo, samba-exaltação was a sub-genre marked by the character of grandeur, expressed notably by
4278-459: Is 2, 3, or 4, sometimes described as duple meter , triple meter , and quadruple meter respectively. In compound meter , the note values specified by the bottom number are grouped into threes, and the upper number is a multiple of 3, such as 6, 9, or 12. The lower number is most commonly an 8 (an eighth-note or quaver): as in 8 or 8 . Other upper numbers correspond to irregular meters . Musical passages commonly feature
4464-423: Is also known for producing significant athletes in volleyball , yachting , swimming , basketball , skateboarding , surfing , beach volleyball , rowing , jiu-jitsu and MMA . The state hosted the 1950 and 2014 FIFA World Cup finals, as well as the 2016 Summer Olympics . It also hosted the 2007 Pan American Games , the 1995 FINA World Swimming Championships (25 m) , the 1954 FIBA World Championship and
4650-470: Is an early, but by no means the earliest, example of 4 time in solo piano music. Anton Reicha 's Fugue No. 20 from his Thirty-six Fugues , published in 1803, is also for piano and is in 8 . The waltz -like second movement of Tchaikovsky's Pathétique Symphony (shown below), often described as a "limping waltz", is a notable example of 4 time in orchestral music. Examples from 20th-century classical music include: In
4836-539: Is felt as two beats, each being a dotted quarter note (crotchet), and each containing subdivisions of three eighth notes (quavers). It is felt as The table below shows the characteristics of the most frequently used time signatures. (quadruple) (duple) (duple) (triple) (triple) (duple) (triple) (quadruple) While changing the bottom number and keeping the top number fixed only formally changes notation, without changing meaning – 8 , 4 , 2 , and 1 are all three beats to
5022-420: Is inevitable, since a measure they would likely regard as 16 , for example, is a three-beat measure in aksak , with one long and two short beats (with subdivisions of 2+2+3 , 2+3+2 , or 3+2+2 ). Folk music may make use of metric time bends, so that the proportions of the performed metric beat time lengths differ from the exact proportions indicated by the metric. Depending on playing style of
5208-589: Is located within the Brazilian geopolitical region classified as the Southeast (assigned by IBGE ). Rio de Janeiro shares borders with all the other states in the same Southeast macroregion: Minas Gerais ( N and NW ), Espírito Santo ( NE ) and São Paulo ( SW ). It is bounded on the east and south by the South Atlantic Ocean . Rio de Janeiro has an area of 43,653 km (16,855 sq mi). Its capital
5394-604: Is not uncommon in some mountainous cities such as Teresópolis, Nova Friburgo and Petrópolis and snow has been reported occasionally in the Itatiaia National Park. Annual mean temperatures on the coast are around 23 °C (73 °F), 26 °C (79 °F) in summer and 20 °C (68 °F) in winter. In the mountains annual mean temperatures are around 18 °C (64 °F) but can range from 20 °C (68 °F) at an elevation of 600 to 700 metres (2,000 to 2,300 ft) above sea level to 7 °C (45 °F) in
5580-519: Is part of the Mata Atlântica biome and is made up of two distinct morphological areas: a coastal plain , known as baixada , and a plateau , which are disposed in parallel fashion from the shoreline on the Atlantic Ocean inland towards Minas Gerais . The coastline extends 635 kilometers and is formed by the bays of Guanabara , Sepetiba , and Ilha Grande . There are prominent slopes near
5766-461: Is provided (usually 4 ) so that the performer finds the piece easier to read, and simply has "free time" written as a direction. Sometimes the word FREE is written downwards on the staff to indicate the piece is in free time. Erik Satie wrote many compositions that are ostensibly in free time but actually follow an unstated and unchanging simple time signature. Later composers used this device more effectively, writing music almost devoid of
Samba - Misplaced Pages Continue
5952-644: Is served by several quick access routes, such as the Linha Vermelha/Red Line and Linha Amarela/Yellow Line freeways and Avenida Brasil/Brazil Avenue , thus conveniently serving residents of the city's southern, northern and western zones. There are special shuttle buses linking Galeão to Santos Dumont, and bus and taxi service to the rest of the city. The airport complex also has Brazil's longest runway at 4,240 metres (13,910 ft), and one of South America's largest and best equipped cargo logistics terminals. Rio de Janeiro has several important ports, such as
6138-463: Is the 4th producer in the country (116 million fruits in 2019), which is produced in the cities of São Francisco de Itabapoana , São João da Barra , Campos dos Goytacazes and Quissamã . It has small productions of cassava (216 thousand tons in 2019, 20th place in the country), banana (76 thousand tons in 2019, 20th place in the country), orange (68 thousand tons in 2019, 10th place in the country), tangerine (37 thousand tons in 2019, 5th place in
6324-792: Is the city of Rio de Janeiro , which was the capital of the Portuguese Colony of Brazil from 1763 to 1815, of the following United Kingdom of Portugal, Brazil and the Algarves from 1815 to 1822, and of later independent Brazil as a kingdom and republic from 1822 to 1960. The state's 22 largest cities are Rio de Janeiro , São Gonçalo , Duque de Caxias , Nova Iguaçu , Niterói , Campos dos Goytacazes , Belford Roxo , São João de Meriti , Petrópolis , Volta Redonda , Magé , Macaé , Itaboraí , Cabo Frio , Armação dos Búzios , Angra dos Reis , Nova Friburgo , Barra Mansa , Barra do Piraí , Teresópolis , Mesquita and Nilópolis . Rio de Janeiro
6510-501: Is the city that receives the most foreign tourists in all of Latin America. In Brazil, it receives almost 40% of foreign tourists who visit the country and receives the most tourists in all of Brazil. It was named one of the ten most beautiful cities in the world by global travel guide website Ucityguides. It is the city that receives the most tourists from cruise ships. During the summer, the city receives more than three million tourists, being
6696-482: Is the largest component of GDP at 51.6%, followed by the service sector at 47.8%. Agriculture represents 0.6% of GDP (2004). Rio de Janeiro (state) exports: petroleum 44.8%, fuel 17.5%, siderurgy 13%, chemicals 3.6%, nonferrous metals 2.8%, vehicles 2.1% (2002). Participation in the Brazilian economy: 15.6% (2004). There are 3,915,724 vehicles in the state (as of Jan. 2006), 10 million mobile phones, 5.3 million telephones, and 92 cities. Rio de Janeiro
6882-532: Is the samba "A Tristeza Me Persegue", by Heitor dos Prazeres, one of Oswaldo Cruz's representatives. Deixa Falar was disqualified for the use of a flute and tie by Benedito Lacerda, then representative of the Estácio group. This veto on wind instruments became the rule from then on – including for the first parade between them, organized in 1932 by journalist Mario Filho and sponsored by the daily Mundo Sportivo -, because it differentiated schools from carnival ranchos with
7068-512: Is the smallest state by area in the Southeast macroregion and one of the smallest in Brazil. It is, however, the third most populous Brazilian state , with a population of over 16 million people at the 2022 Census (making it the most densely populated state in Brazil ), and it has the third longest coastline in the country (after those of the states of Bahia and Maranhão ). In the Brazilian flag ,
7254-466: Is written in 8 , in which the beats are likewise subdivided into 3+2+3 to reflect Basque dance rhythms. Romanian musicologist Constantin Brăiloiu had a special interest in compound time signatures, developed while studying the traditional music of certain regions in his country. While investigating the origins of such unusual meters, he learned that they were even more characteristic of
7440-559: The 1963 FIBA World Championship , among many others. Horse racing takes place at the Gávea Hippodrome . Jacarepaguá was the venue for the Brazilian leg of the Formula One Grand Prix , between 1978 and 1990, and Champ Car (1996–1999). The WCT and WQS surf tours took place on Rio's beaches between 1985 and 2001. The capital also hosts an ATP 500 tennis tournament . The capital has three major stadiums: Maracanã ,
7626-552: The Afro-Brazilian communities of Bahia in the late 19th century and early 20th century, having continued its development on the communities of Rio de Janeiro in the early 20th century. Having its roots in the Afro-Brazilian Candomblé , as well as other Afro-Brazilian and Indigenous folk traditions, such as the traditional Samba de Caboclo, it is considered one of the most important cultural phenomena in Brazil and one of
Samba - Misplaced Pages Continue
7812-536: The Brazilian Carnival . From the cucumbis, the "Cariocas cordões" emerged, which presented elements of Brazilianness – like Black people in indigenous dress. At the end of the 19th century, on the initiative of Hilário Jovino, from Pernambuco, ranchos de reis (later known as carnival ranchos) emerged. One of the most important ranches in Rio's carnival was Ameno Resedá. Created in 1907, the self-titled "rancho-escola" became
7998-535: The Getulio Vargas regime . From an image of a symbol of national backwardness, the mestizo became a representative of Brazilian singularities, and samba, with its mestizo origin, ended up linked to the construction of national identity . Having acted decisively for the growth of radio in Brazil, the Vargas government perceived samba as a vital element in the construction of this idea of miscegenation. Samba's triumph over
8184-693: The Maracanã stadium are among the main visiting points. Among the biggest events in the carioca calendar is the Carnival , which, according to the Guinness Book, is the biggest party on the planet with five million revelers playing in the streets of the city, and the New Year's party in Copacabana, which is also Listed in Guinness Book as the largest New Year's party in the world, with more than 4 million people spread across
8370-613: The Port of Rio de Janeiro , the Port of Itaguaí and the Port of Açu , in addition to others such as Niterói and Angra dos Reis. All ports in the state have several rail and road accesses.The Port of Rio de Janeiro is a major exporter of Minas Gerais iron, steel products and vehicles, importing containers, wheat, steel products and zinc concentrate. The Port of Itaguaí exports Minas Gerais iron ore and containerized cargo, importing coal, coal coke, containerized cargo, alumina and steel products. Açu, in 2023,
8556-469: The Royal Military Academy [ PT ] . There followed a process of cultural enhancement influenced not only by the arrival of the royal family, but also by the presence of European graphic artists who were hired to record the society and Brazilian natural features. During this same time, The Royal School of Sciences, Arts, and Works [ PT ] was founded as well. In 1834,
8742-811: The Serra da Mantiqueira which forms the physical border with neighbouring Minas Gerais . Its principal rivers are the Guandu , the Piraí , the Paraíba do Sul , the Macaé and the Muriaé . The entire state is located within the tropics (the Tropic of Capricorn passes just a few kilometers south of the state's southernmost point) so a tropical climate is predominant. However, due to altitude, temperatures can drop to freezing point or below in some parts. Frost
8928-572: The Vila Isabel middle-class neighborhood, Noel Rosa was instrumental in destigmatizing the samba do Estácio. Although he started his musical trajectory by composing Northeastern emboladas and similar Brazilian rural music genres, the composer changed his style by having contact with the samba made and sung by the sambistas from Estácio and others hills of Rio. This meeting resulted in friendships and partnerships between Noel and names as Ismael Silva and Cartola . Among singers, in addition to Noel himself,
9114-598: The bar is first divided into equal units. For example, the time signature 8 means that there are 8 quaver beats in the bar, divided as the first of a group of three eighth notes (quavers) that are stressed, then the first of a group of two, then first of a group of three again. The stress pattern is usually counted as This kind of time signature is commonly used to notate folk and non-Western types of music. In classical music, Béla Bartók and Olivier Messiaen have used such time signatures in their works. The first movement of Maurice Ravel 's Piano Trio in A Minor
9300-400: The meter of a musical movement at the bar level. In a music score the time signature appears as two stacked numerals, such as 4 (spoken as four–four time ), or a time symbol, such as [REDACTED] (spoken as common time ). It immediately follows the key signature (or if there is no key signature, the clef symbol). A mid-score time signature, usually immediately following
9486-529: The "Estácio paradigm" innovated in the formatting of samba as a song, with its musical organization in first and second parts in both melody and lyrics. In this way, the sambistas of Estácio created, structured and redefined the urban Carioca samba as a genre in a modern and finished way. In this process of establishment as an urban and modern musical expression, the Carioca samba had the decisive role of samba schools, responsible for defining and legitimizing definitively
SECTION 50
#17328518532769672-517: The "Tias Baianas" ("Bahian aunts") founded the first Candomblé terreiros, introduced the cowrie-shell divination and disseminated the mysteries of the African-based religions of the Jeje-Nagô tradition in the city. In addition to candomblé, the residences or terreiros of the aunts of Bahia hosted various community activities, such as cooking and the pagodes, where urban Rio samba would develop. Among
9858-441: The 1930s, with the political rise of Getúlio Vargas , who identified the media as a tool of public interest for economic, educational, cultural or political purposes, as well as for the national integration of the country. A 1932 Vargas decree regulating radio advertising was crucial to the commercial, professional and popular transformation of Brazilian broadcasting. With the authorization that ads could occupy 20% (and then 25%) of
10044-417: The 1930s. Also from that time, samba-choro – at first called choro-canção or choro-cantado – was a syncopated hybrid sub-genre of samba with the instrumental music genre choro , but with medium tempo and presence of lyrics. Created by the Brazilian music industry, it was released, with all indications, with "Amor em excesso", by Gadé and Valfrido Silva, in 1932. One of the most popular sambas of this variant
10230-482: The 1930s. Between 1931 and 1940 samba was the most recorded genre music in Brazil, with almost 1/3 of the total repertoire – 2,176 sambas songs in a universe of 6,706 compositions. Sambas and marchinhas together made up the percentages just over half of the repertoire recorded in that period. Thanks to the new electric recording technology, it was possible to capture the percussive instruments present in samba schools. The samba "Na Pavuna", performed by Bando de Tangarás,
10416-709: The 1970s, with the transfer of the capital to Brasilia, Rio de Janeiro began to be one of the worst states in the country in terms of economic dynamism. There was no political discussion about the course of the city after it ceased to be the country's capital. "Rio de Janeiro was a job hanger for politicians from all over Brazil. Everyone referred a friend, a relative to take a position in the federal district," explains Marieta de Moraes Ferreira, history professor at UFRJ . Left-wing governors and mayors such as Leonel Brizola , Saturnino Braga , Marcello Allencar , César Maia , Anthony Garotinho , and Benedita da Silva , among others, helped drive away many industries that still existed in
10602-570: The 20th century. In its beginnings, Samba was heavily criminalized by the Brazilian government. Born in the Favelas , it was a distinctly Afro Brazilian musical genre that brought people together in community and celebration, but that, to the Brazilian elite, was threatening. Samba's incorporation of African drumming was thought to be a connection to Afro Brazilian cults. Many early composers were thought to be leaders of African cults and for this connection, samba faced policed persecution. Any Samba gathering
10788-406: The Brazil – whether phonograph record or live recordings directly from the stations' auditoriums and studios. With samba as a great attraction, the radio gave space to the genre with the "sambas de carnaval", released for the carnival celebrations, and the "sambas de meio de ano" ("mid-year sambas"), launched throughout the year. This expansion of radio as a medium of mass communication enabled
10974-570: The Brazilian National Institute of Historic and Artistic Heritage declared Carioca samba and three of its matrixes – samba de terreiro, partido-alto and samba de enredo – as cultural heritage in Brazil. There is no consensus among experts on the etymology of the term "samba". A traditionalist view defends that the etymon comes from the Bantu was in the Diário de Pernambuco in 1830. The term
11160-441: The Itatiaia National Park. Summers in these areas tend to be warm but not hot, with averages around 22 °C (72 °F). Winters are quite chilly by Brazilian standards with lows around 8 to 9 °C (46 to 48 °F) Rains tend to be concentrated in the summer (December to March) with a dry season in the winter (June to September). Most of the state receives between 1,000 and 1,500 millimetres (39 and 59 in) of rainfall in
11346-558: The Lagos region are also very popular, in the towns of Cabo Frio and Arraial do Cabo ; and Ilha Grande . The mountainous region is home to the imperial city, Petrópolis , seat of Brazil's ancient empire; its neighbor Teresópolis ; Nova Friburgo , colonized by the Germans; Penedo , colonized by the Finns, and the village of Visconde de Mauá, in the municipality of Resende , as winter refuges to enjoy
SECTION 60
#173285185327611532-472: The National Library as "samba de partido-alto" in 1913, "A viola está magoada", by Catulo da Paixão Cearense, released as "samba" by Baiano and Júlia the following year, and "Moleque vagabundo", "samba" by Lourival de Carvalho, also in 1914. Another debate related to "Pelo Telefone" concerns Donga's exclusive authorship, which was soon contested by some of his contemporaries who accused him of appropriating
11718-459: The Police of Bahia – in 1917 and 1918 respectively. The success of "Pelo Telefone" marked the official beginning of samba as a song genre. Its primacy as "the first samba in history" has, however, been questioned by some scholars, on the grounds that the work was only the first samba under this categorization to be successful. Before, "Em casa da baiana" was recorded by Alfredo Carlos Bricio, declared to
11904-697: The Presidente Dutra highway was re-tendered to enable a billion-dollar upgrade project for the Serra das Araras road, the oldest section of the highway, built in the 1920s. Generally, the state's highways have a large movement of freight and passenger vehicles. The main Federal highways that cross the state are: Since August 2004, with the transfer of many flights from Santos Dumont Airport , to Rio de Janeiro-Galeão International Airport , Rio de Janeiro has second international airport of Brazil. According to data from
12090-463: The Rio's urban samba, the radio also played a decisive role in popularizing it nationwide. Although broadcasting in Brazil was officially inaugurated in 1922, it was still an incipient and technical, experimental and restricted telecommunication medium. In the 1920s, Rio de Janeiro was home to only two short-range radio stations whose programming was basically limited to broadcast educational content or classical music. This panorama changed radically in
12276-502: The United States on several 78 rpm discs. Another privileged space for the white, rich elite in the Brazilian society was the casinos , which peaked in Brazil during the 1930s and 1940s. In addition to working with games of chance , these elegant amusement houses offered restaurant and bar services and were the stage for shows – among which samba also featured prominently. Thus, the casinos signed exclusive contracts with major artists, as
12462-601: The United States, where she worked in musicals in New York City and, later, in Hollywood cinema . Her popularity was such that she even performed at the White House for President Franklin D. Roosevelt . The consolidation of samba as the flagship of the radio programming of Rio de Janeiro was characterized by the association of the musical genre with the image of white artists, who, even when proletarianized, were more palatable to
12648-406: The Vargas regime approached the United States, DIP made an agreement to broadcast Brazilian radio programs on hundreds of CBS radio network. Under this context, the samba " Aquarela do Brasil " (by Ary Barroso) was released in the United States market, becoming the first Brazilian song that was very successful abroad and one of the most popular works of the Brazilian popular songbook. In the midst of
12834-606: The Western popular music tradition, unusual time signatures occur as well, with progressive rock in particular making frequent use of them. The use of shifting meters in The Beatles ' " Strawberry Fields Forever " and the use of quintuple meter in their " Within You, Without You " are well-known examples, as is Radiohead 's " Paranoid Android " (includes 8 ). Paul Desmond 's jazz composition " Take Five ", in 4 time,
13020-407: The adherents of these and other minorities constitute 6.2% of Rio de Janeiro's population. Rio de Janeiro is the state with the lowest percentage of Catholics in Brazil, and the state with the highest percentage of people without religion (such as atheists and agnostics ). In addition, it is the state with the highest percentage of spiritists in Brazil. The variety of denominations is a mark of
13206-409: The aesthetic bases of rhythm, and radio broadcasting , which greatly contributed to the diffusion and popularization of the genre and its song singers. Thus, samba has achieved major projection throughout Brazil and has become one of the main symbols of Brazilian national identity . Once criminalized and rejected for its Afro-Brazilian origins, and definitely working-class music in its mythic origins,
13392-468: The airwaves allowed it to penetrate all sectors of Brazilian society. Especially under the Estado Novo , whose ideological cultural policy of reconceptualizing the popular and extolling everything that was considered an authentic national expression, samba was elevated to the position of major national symbol of the country and the official pace of the country. However, one of the concerns of the Vargas regime
13578-474: The already used pandeiros and shakers – gave a more "marching" characteristic to the samba of the parades. In 1929, the sambista and babalawo Zé Espinguela organized the first contest among the first samba schools in Rio: Deixa Falar, Mangueira and Oswaldo Cruz (later Portela). The dispute did not involve parede, but a competition to choose the best samba theme among these carnival groups – whose winner
13764-446: The appreciation of batucadas, which would definitely mark the aesthetic bases of samba from then on. Estácio's batucado and syncopated samba represented an aesthetic break with Cidade Nova's maxixe-style samba. In turn, the first generation of samba did not accept the innovations created by the samba musicians of the hill, seen as a misrepresentation of the genre or even designated as " march ". For musicians such as Donga and Sinhô, samba
13950-411: The author negotiated only the sale of the samba recording – that is, he remained as the author of the composition, but he would not receive any part of the gains obtained from the sales of the records, which were divided between the buyer and the record label – or the entire composition – that is, the real author completely lost the rights to his samba, including authorship. In some cases, the sambista sold
14136-428: The background. The outer part of the coat of arms represents the state's agricultural richness, sugarcane (left) and coffee (right). Time signature A time signature (also known as meter signature , metre signature , and measure signature ) is an indication in music notation that specifies how many note values of a particular type are contained in each measure ( bar ). The time signature indicates
14322-507: The barrel of oil reached $ 93.48. But oil revenues, used by the government to repay financing debts, including the payroll of idle workers, fell to 1.6 billion reais. The international price of a barrel fell to USD 50.48 in 2016 and reached a low of USD 28. Petrobras became the target of the largest anti-corruption operation in Brazil, with the participation of governors such as Sérgio Cabral Filho and Pezão , linked to leftist Luiz Inácio Lula da Silva , pushing back investments that were to be at
14508-531: The beginning of the 20th century is predominantly in a 4 time signature varied with the conscious use of a sung chorus to a batucada rhythm, with various stanzas of declaratory verses. Its traditional instrumentation is composed of percussion instruments such as the pandeiro , cuíca , tamborim , ganzá and surdo accompaniment – whose inspiration is choro – such as classical guitar and cavaquinho . In 2005 UNESCO declared Samba de Roda part of Intangible Cultural Heritage of Humanity , and in 2007,
14694-506: The beginning of the 20th century, in the context of the First Brazilian Republic , the poor strata of Rio de Janeiro faced serious economic issues related to their survival in the federal capital, such as the imposition of new taxes resulting from the provision of public services (such as electric lighting, water and sewage, modern pavements), new legislation that imposed architectural norms and restrictions for urban buildings, and
14880-682: The best-known Brazilian city abroad. The capital of Rio de Janeiro is internationally known for the beauty of its beaches and hills, in addition to having several sites. According to Embratur , it is the most sought-after destination by foreign tourists who visit Brazil for leisure, and second place in business and events tourism. Christ the Redeemer , elected one of the seven wonders of the modern world , Sugarloaf (with its famous cable car), Rodrigo de Freitas Lagoon , Copacabana , Ipanema and Barra da Tijuca beaches, Tijuca forest , Quinta da Boa Vista , Rio de Janeiro Botanical Garden , Cinelândia and
15066-428: The cadence of the samba, making it a more syncopated rhythm. It was, therefore, a break with the samba tan tantan tan tantan irradiated from the Bahian aunts meetings. Thus, at the end of the 1920s, the modern carioca samba had two distinct models: the primitive urban samba of Cidade Nova and the new syncopated samba of the Estácio group. However, while the Bahian community enjoyed a certain social legitimacy, including
15252-538: The capital. Italians and Spaniards are also present in the capital as well as in the surrounding cities. Racial groups of Rio de Janeiro in 2022 Religion in Rio de Janeiro (2010) According to the 2010 Brazilian census, there were 7,324,315 Roman Catholics (45.8%), 4,696,906 Protestants (29.4%), 647,572 Spiritists (4%), and 2,416,303 people without religion (14.6%). There are also adherents of Islam , Judaism , Buddhism , Hinduism , esoterism , neo-paganism , afro-Brazilian religions and Asian religions. Together,
15438-434: The century, it was one of the largest producers in the world. In Brazil, however, as of 2020, only two sugar mills were operating in the city. The state, which harvested about 10 million tonnes in the 1980s, reached only 1 million tonnes in 2017, when it began to recover, harvesting 1.8 million tonnes in the 2019/ 20. In the agricultural field, the State of Rio currently stands out for some products, such as pineapple , where it
15624-484: The characteristic aksak meter of the Turkish karşılama dance. However, such time signatures are only unusual in most Western music. Traditional music of the Balkans uses such meters extensively. Bulgarian dances , for example, include forms with 5, 7, 9, 11, 13, 15, 22, 25 and other numbers of beats per measure. These rhythms are notated as additive rhythms based on simple units, usually 2, 3 and 4 beats, though
15810-476: The city of Rio de Janeiro was established by Estácio de Sá . In the 17th century, cattle raising and sugar cane cultivation stimulated the city's progress, which was definitively assured when the port started to export gold extracted from Minas Gerais in the 18th century. In 1763, Rio de Janeiro became the capital of Colonial Brazil. With the flight of the Portuguese royal family from Portugal to Brazil in 1808,
15996-542: The city of Rio de Janeiro was transformed into a "neutral city" , remaining as capital of the state, while the captainships became provinces, with headquarters in Niterói , a neighbouring city. In 1889, the city became the capital of the Republic, the neutral city became the federal district and the province a state. In 1894, Petrópolis became the capital of Rio de Janeiro, until 1902 when Niterói recovered its capital status. With
16182-438: The city's beaches, including 2 million on Copacabana Beach alone. Of the 10 most visited cities in the country by leisure tourists, 4 are in the state of Rio. In addition to the capital, in the lake region, Armação dos Búzios , and in the south of the state, Angra dos Reis , both focused on high-end tourism; also in the south of the state, the town of Paraty , with its colonial architecture and cobbled streets. The beaches of
16368-554: The city, while fluminense continues to be used for the state as a whole. European presence in Rio de Janeiro dates back to 1502. Rio de Janeiro originated from parts of the captainships of de Tomé and São Vicente. Between 1555 and 1567, the territory was occupied by the French, who intended to install a colony, France Antarctique . Aiming to prevent the occupation of the Frenchmen, in March 1565,
16554-540: The cold. The state of Rio de Janeiro is one of the best in the country in terms of infrastructure, although it has some shortcomings, mainly due to its mountainous terrain. In the highway sector, there are about 800 km of highways , the main highway being BR-101 , then BR-116 . The Presidente Dutra highway, the name given to the BR-116 on the section that connects the country's two main cities (São Paulo to Rio), passing through Volta Redonda , Barra Mansa and Resende,
16740-475: The country's capital settled in the vicinity of the Rio de Janeiro port area and, after the urban reforms of Mayor Pereira Passos , in the neighborhoods of Saúde and Cidade Nova . Through the action of black Bahians living in Rio, new habits, customs and values of Afro-Bahian matrixes were introduced that influenced the culture of Rio, especially in popular events such as the traditional Festa da Penha and Carnival . Black women from Salvador and Bahia's Recôncavo,
16926-535: The country's symbols. Present in the Portuguese language at least since the 19th century, the word "samba" was originally used to designate a "popular dance". Over time, its meaning has been extended to a " batuque -like circle dance", a dance style , and also to a "music genre". This process of establishing itself as a musical genre began in the 1910s and it had its inaugural landmark in the song " Pelo Telefone ", launched in 1917. Despite being identified by its creators,
17112-471: The country), lemon (20 thousand tons in 2019, 5th place in the country) and persimmon , where it has 6% of national production, being 4th place in the country. The state was also an important producer of coconuts , in the regions of Quissamã and the Lakes Region, and in 2009 it was the 7th national producer, but between 2010 and 2020 several producers abandoned the activity. The industrial sector
17298-638: The country, that is, the Brazilian Northeast . For many years of the Brazilian colonial and imperial history, the terms "batuque" or "samba" were used in any manifestation of African origins that brought together dances (mainly umbigada ), songs and uses of Black people instruments. At the end of the 19th century, "samba" was present in the Portuguese language , designating different types of popular dances performed by African slaves (xiba, fandango , catereté, candomblé, baião ) that assumed its own characteristics in each Brazilian state , not only by
17484-430: The decade, the samba made by these genuine sambistas was losing space on Brazilian radio to new sub-genres that were being formed, while figures such as Cartola and Ismael Silva were ostracized until they left the music scene in the late 1940s. Thanks to its economic exploitation through the radio and the records, samba not only became professional, but also diversified into new sub-genres, many of which were different from
17670-460: The diversity of the ethnic groups of the African diaspora , but also the peculiarity of each region in which they were settlers. In the twentieth century, the term was gaining new meanings, as for a "circle dance similar to batuque" and a "genre of popular song The use of the word in a musical context was documented as early as 1913 in the "Em casa de baiana", registered as "samba de partido-alto". Then,
17856-448: The early 1890s, Rio had more than half a million inhabitants, of whom only half were born in the city, while the other part came from the old Brazilian imperial provinces, mainly from Bahia . In search of better living conditions, this influx of black Bahians to Rio lands increased considerably after the abolition of slavery in Brazil . Called "Pequena Africa" ("Little Africa") by Heitor dos Prazeres , this Afro-Bahian diaspora community in
18042-442: The establishment of partnerships between the composers. For example, one composer created the chorus of a samba and another composer conceived the second part, as occurred in the partnership between Ismael Silva and Noel Rosa in "Para Me Livrar do Mal". With the growing demand for new sambas by the singers, the practice of buying and selling compositions has also become common. This transaction usually took place in two different ways:
18228-494: The event where the dance was performed, the way of dancing the samba and the music performed for the dance. The Urban Carioca Samba was influenced by several traditions associated with the universe of rural communities throughout Brazil. The folklorist Oneida Alvarenga was the first expert to list primitive popular dances of the type: coco, tambor de crioula, lundu , chula or fandango, baiano, cateretê, quimbere, mbeque, caxambu and xiba. To this list, Jorge Sabino and Raul Lody added:
18414-429: The extensive melody, the lyrics with a patriotic-ufanist theme and by the lavish orchestral arrangement. Its great paradigm was " Aquarela do Brasil ", by Ary Barroso . From the huge success of the first version recorded by Francisco Alves , in 1939, samba-exaltação started to be well cultivated by professional composers in the musical theater and in the music industry and radio media. Another well-known samba of this type
18600-460: The favelas and suburbs of Rio, such as Morro da Mangueira , and the suburban neighborhood of Osvaldo Cruz . Estácio's samba was distinguished from Cidade Nova's samba both in thematic aspects, as well as in the melody and rhythm. Made for the parades of the carnival blocs in the neighborhood, the samba do Estácio innovated with a faster tempo, longer notes and a cadence beyond the traditional palms. Another structural change resulting from this samba
18786-409: The first favelas in the city. From the increase in the populations expelled from the tenements and the arrival of new poor migrants to the capital of the Republic, the favelas grew rapidly and spread through the hills settlements and suburban areas of Rio. It was in this scenario that a new type of samba would be born during the second half of the 1920s, called "samba do Estácio", which would constitute
18972-413: The first successful singers of the new popular song genre. The solidification of the electric recording system made it possible for the recording industry to launch new sambas by singers with less powerful voices, such as Carmen Miranda and Mário Reis , performers who became references when creating a new way of interpreting the most natural and spontaneous samba, without so many ornaments, as opposed to
19158-453: The fly, the partido alto was – and still is – the most traditional sung variant of rural samba in Rio de Janeiro State . Originating in the Greater Rio de Janeiro , it is the combination, according to Lopes and Simas, of the Bahian samba de roda with the singing of the calango, as well as a kind of transition between rural samba and what would be developed in the urban environment of Rio from
19344-539: The following year, for the works "A viola está magoada" and "Moleque vagabundo". And, in 1916, for the famous " Pelo Telefone ", released as "samba carnavalesco" ("carnival samba") and regarded as the founding landmark of the Modern Carioca Samba. During a folkloric research mission in the Northeast Region of 1938, the writer Mário de Andrade noticed that, in rural areas, the term "samba" was associated with
19530-410: The forefront of the pre-salt exploration. Even when state municipalities received millions of reais in royalties, public spending was used for marginal improvements, for beautification, such as porcelain floors, whale-shaped monuments, without generating revenue or benefit. jobs for the population. Political leaders are blamed for the lack of a unified project for Rio de Janeiro's economy. The state
19716-503: The formation of professional technicians linked to sound activities, as well as for singers, arrangers and composers. From this scenario, broadcasters Ademar Casé (in Rio) and César Ladeira (in São Paulo) stood out as pioneers in the establishment of exclusive contracts with singers for presentation in live programs. That is, instead of receiving only one fee per presentation, the monthly remuneration
19902-1265: The former largest stadium in the world in terms of capacity; Engenhão , planned to host the athletics and football events of the 2007 Pan American Games, and São Januário , the largest private stadium in Rio. In the state of Rio, Olympic medalists were born such as: Martine Grael , Clínio de Freitas , Daniel Adler , Eduardo Penido , Isabel Swan , Kiko Pelicano , Marcelo Ferreira , Marcos Soares , Nelson Falcão and Ronaldo Senfft in yachting; Thiago Pereira , Bruno Fratus and Jorge Fernandes in swimming; Robson Caetano and José Telles da Conceição in athletics; Luiz Felipe de Azevedo in horse riding; Afrânio da Costa and Fernando Soledade in shooting; Affonso Évora , Alfredo da Motta , Algodão , Edson Bispo , Fernando Brobró , Fritz , Marcus Vinícius Dias , Ruy de Freitas and Sérgio Macarrão in basketball; Adriana Samuel , Ana Cristina , André Nascimento , Bernard , Bernardinho , Bruninho , Fabiana Alvim , Fernanda Ferreira , Fernandão , Janina , Kátia Lopes , Leandro Vissotto , Marcelo Elgarten , Nalbert , Rui , Tande , Thaísa and Valeskinha in volleyball; Bárbara Seixas , Jackie Silva , Raquel da Silva, Sandra Pires in beach volleyball, in addition to Hugo Calderano ,
20088-447: The future musical genre, but a kind of merriment (dance drama) popular for black people of that time. According to Hiram Araújo da Costa, over the centuries, the festival of dances of enslaved people in Bahia were called samba. In Rio de Janeiro , the word only became known at the end of the 19th century, when it was linked to rural festivities, to the area of Black people and to the "north" of
20274-553: The genesis of urban Carioca samba by creating a new pattern so revolutionary that its innovations last until the days current. Located close to Praça Onze and housing Morro do São Carlos, the neighborhood of Estácio was a center of convergence of public transport, mainly of trams that served the North Zone of the city. Its proximity to the nascent hills settlements as well as its primacy in the formation of this new samba ended up linking its musical production, from urban train lines , to
20460-910: The genre has also received support from members of the upper classes and the country's cultural elite. At the same time that it established itself as the genesis of samba, the "Estácio paradigm" paved the way for its fragmentation into new sub-genres and styles of composition and interpretation throughout the 20th century. Mainly from the so-called "golden age" of Brazilian music, samba received abundant categorizations, some of which denote solid and well-accepted derivative strands – such as bossa nova , pagode , partido alto , samba de breque, samba-canção , samba de enredo and samba de terreiro – while other nomenclatures were somewhat more imprecise – such as samba do barulho (literally "noise samba"), samba epistolar ("epistolary samba") ou samba fonético ("phonetic samba") – and some merely derogatory – such as sambalada, sambolero or sambão joia. The modern samba that emerged at
20646-479: The good neighborhood policy, the animator Walt Disney visited Portela samba school during his visit to Brazil in 1941, from which he hypothesized that Zé Carioca , a character created by the cartoonist to express the Brazilian way, would have been inspired by the figure of the sambista Paulo da Portela. The rise of samba as a popular musical genre in Brazil also relied on its dissemination in Brazilian cinema , especially in musical comedies, being an integral part of
20832-497: The government. During colonial Brazil, many public Catholic events used to attract all social segments, including Black and enslaved peoples, who took advantage of the celebrations to make their own manifestations, such as the crowning revelry of the Congo kings and the cucumbis (Bantu revelry) in Rio de Janeiro . Gradually, these exclusive celebrations of the black people were being disconnected from Catholicism ceremonies and changed to
21018-539: The great name of this sub-genre. After the end of the World War II and the consequent growth in the production of consumer goods, radio sets spread in the Brazilian market in different models and at affordable prices to the different social class of the Brazilian population. Within this context, Brazilian radio broadcasting also went through a moment of change in language and audience that made radio an even more popular media in Brazil. In search of easier communication with
21204-400: The greatest table tennis player in the history of Brazil; Nelson Piquet , three-time F1 world champion, Bob Burnquist , considered one of the greatest skateboarders of all time and Marcus Vinicius D'Almeida , archery world runner-up. An eagle , symbol of Brazil's royal family, appears on the state flag with the rock formation Dedo de Deus (" The Finger of God ") near Teresópolis in
21390-448: The hues originating in the hills of Rio de Janeiro and established by the interests of the Brazilian music industry. The period of Brazilian music between 1929 and 1945 marked by the arrival of radio and electromagnetic recording of sound in the country and by the notability of major composers and singers, – the so-called "golden age" registered several styles of samba, some with greater and others with less solidity. Publications devoted to
21576-563: The international song at that time with popular instruments in Brazilian music, such as the cavaquinho. The Orquestra Brasileira was notable for the success of the program Um milhão de melodias (One million melodies ), by Rádio Nacional , one of the most popular in the history of Brazilian radio. In this golden age of radio broadcasting in Brazil, a new generation of composers from the middle class emerged, such as Ary Barroso , Ataulfo Alves , Braguinha , Lamartine Babo and Noel Rosa , who have built successful careers in this media. Grown up in
21762-489: The listener, the programming standard became more sensational, melodramatic and appealing. One of the best expressions of this new format and the new popular audience was the auditorium programs and the "kings" and "radio queen" contests. Although they played a role in legitimizing samba as a cultural product and national symbol music and also transforming popular musical culture with the circulation of new musical genres and more extroverted performances, auditorium programs such as
21948-412: The most common themes in the tradition of the urban Carioca samba. Musical contests were also instituted through which public opinion elected its favorite composers and performers. Under Vargas, samba had an expressive weight in the construction of an image of Brazil abroad and was an important means of cultural and tourist dissemination of the country. In an attempt to reinforce a positive national image,
22134-824: The most well-known Bahian aunts in Rio, were the Tias Sadata, Bibiana, Fê, Rosa Olé, Amélia do Aragão, Veridiana, Mônica, Perciliana de Santo Amaro and Ciata . A place for meetings around religion, cuisine, dance and music, Tia Ciata 's home was frequented both by samba musicians and pais-de-santo as well as by influential intellectuals and politicians from Rio de Janeiro society. Among some of its members regulars were Sinhô [ pt ] , Pixinguinha , Heitor dos Prazeres, João da Baiana [ pt ] , Donga and Caninha [ pt ] , as well as some journalists and intellectuals, such as João do Rio , Manuel Bandeira , Mário de Andrade and Francisco Guimarães [ pt ] (popularly known as Vagalume). It
22320-514: The nascent urban samba was gaining popularity in Rio de Janeiro, especially at the Festa da Penha and Carnival. In October, the Festa da Penha became a great event for composers from Cidade Nova who wanted to publicize their compositions in the expectation that they would be released at the following carnival. Another promoter during this period was the Revue shows, a place that enshrined Aracy Cortes as one of
22506-490: The need to set up big radio orchestras, conducted by arranging conductors, which gave a more sophisticated look to Brazilian popular music. One of the most notorious orchestral formations on the radio was the Orquestra Brasileira – under the command of conductor Radamés Gnatalli and with a team of musicians such as the sambistas João da Baiana, Bide and Heitor dos Prazeres in percussion -, which combined standards of
22692-444: The notation fails to describe the metric "time bending" taking place, or compound meters . See Additive meters below. Some video samples are shown below. While time signatures usually express a regular pattern of beat stresses continuing through a piece (or at least a section), sometimes composers change time signatures often enough to result in music with an extremely irregular rhythm. The time signature may switch so much that
22878-449: The ocean, featuring also diverse environments, such as restinga vegetation , bays , lagoons and tropical forests . Most of the state however consists of highlands, often higher than 1000 m, formed by several mountain chains like the Serra do Mar which separates Rio from the state of São Paulo . The highest point of the state, the Pico das Agulhas Negras (Black Needles Peak) is located in
23064-403: The official Brazilian travel bureau, Embratur, nearly 40% of foreign tourists who visit Brazil choose Rio as their gateway, meaning Galeão Airport. Besides linking Rio to the rest of Brazil with domestic flights, Galeão has connections to 18 other countries. It can handle up to 15 million passengers a year in two passenger terminals. Located 20 kilometers from downtown Rio, the international airport
23250-632: The official demonym of the Royal Captaincy of Rio de Janeiro and subsequently of the Province of Rio de Janeiro. From 1783 through the Imperial Regime , carioca remained an unofficial term which other Brazilians used for the inhabitants of the city as well as the province. During the first years of the Brazilian Republic, carioca came to be the name given to those who lived in the city's slums or
23436-451: The other: For instance, 4 means two quarter-notes (crotchets) per bar, while 8 means four eighth-notes (quavers) per bar. The most common time signatures are 4 , 4 , and 4 . By convention, two special symbols are sometimes used for 4 and 2 : These symbols derive from mensural time signatures , described below. Simple meters are those whose upper number
23622-444: The paradigmatic "Programa César de Alencar" and "Programa Manoel Barcelos" – both on Radio Nacional , leader in audience and main media of communication in Brazil – stimulated the cult of personality and the private life of artists, whose apex was the collective frenzy generated around the fan clubs of popular music stars during the concourses of kings and queens of the radio. Rio de Janeiro (state) The state of Rio de Janeiro
23808-543: The partnership to the buyer and also received a portion of the profits from the sales of the records. Selling a samba meant the composer had a chance to see his production publicized – especially when he did not yet enjoy the same prestige acquired by the first generation samba composers – and also a way to make up for his own financial difficulties. For the buyer, it was the possibility to renew his repertoire, record more records and earn sales, and further consolidate his artistic career. Artists with good contact with record labels,
23994-460: The performance of dance instruments. The three basic steps of Bahian samba de roda were the corta-a-jaca, the separa-o-visgo and the apanha-o-bago, in addition to the little one danced exclusively by women. In their research on Bahian samba, Roberto Mendes and Waldomiro Junior examined that some elements from other cultures, such as the Arab pandeiro and the Portuguese viola, were gradually incorporated into
24180-406: The popular chanchada films made Brazilian cinema one of the biggest promoters of carnival music. In one of the rare moments when sambistas from the hill starred in radio programs, Paulo da Portela, Heitor dos Prazeres and Cartola led the program "A Voz do Morro", at Rádio Cruzeiro do Sul, in 1941. There, they presented unpublished sambas whose titles were given by listeners. However, over the course of
24366-410: The popular singers Francisco Alves and Mário Reis were adepts of this practicea, having acquired sambas from composers such as Cartola and Ismael Silva. The 1930s in Brazilian music marked the rise of Estácio's samba as a musical genre to the detriment of maxixe-style samba. If the samba schools were crucial to delimit, publicize and legitimize the new Estaciano samba as the authentic expression of
24552-404: The population of Rio, and those with a Portuguese father or a Portuguese mother accounted for 30,84%. In other words, native born Portuguese and their children accounted for 51,20% of the inhabitants of Rio, or a total of 267664 people in 1890. Other European ethnic groups , such as Swiss , Finnish and Germans settled mostly in the mountainous areas ( Nova Friburgo , Petrópolis , etc.) and in
24738-424: The preference of the public, while the poor black sambistas remained normally on the sidelines of this process as a mere supplier of compositions for the white performers or as instrumentalists accompanying them. This strong presence of white singers and composers was also decisive for the acceptance and appreciation of samba by the economic and cultural elites of Brazil. From this, the middle class started to recognize
24924-460: The presence of religious diversity in the demographic profile of the state. The state of Rio de Janeiro has the 4th best education in Brazil, second only to the Federal District , São Paulo and Goiás . The state has the fourth lowest illiteracy rate in Brazil, about 4% of its population. The illiteracy rate in the state is compared to countries like Singapore, Portugal, and China. Most of
25110-711: The presence of renowned singers of the kind in presidential committees to Latin American countries has become frequent. At the end of 1937, the sambistas Paulo da Portela [ pt ] and Heitor dos Prazeres participated in a caravan of Brazilian artists to Montevideo that performed at the Gran Exposición Feria Internacional del Uruguay. The Brazilian government also financed an information and popular music program called "Uma Hora do Brasil", produced and broadcast by Radio El Mundo, from Buenos Aires , which had at least one broadcast to Nazi Germany . When
25296-435: The press in 1929 to mistakenly designate "Jura", by Sinhô, and "Diz que me amas", by J. Machado, the starting point of the line was "Linda Flor (Ai, Ioiô)", a melody by Henrique Vogeler and lyrics by Luis Peixoto, released in the revue and on disc by singer Aracy Cortes . In general, the samba-canção was characterized as a slower tempo variant, with a dominance of the melodic line over the rhythmic marking that basically explores
25482-431: The pretext of ensuring that there was no plagiarism – did not belong to composers, but to publishers and, later, to record labels, a reality modified only with the advent of electrical recordings, when the right to intellectual property of the work became individual and inalienable to the composer. In any case, it was because "Pelo Telefone" that samba gained notoriety as a product in the Brazilian music industry. Gradually,
25668-429: The primacy of the country's first samba school is contested by Portela and Mangueira , Deixa Falar was a pioneer in spreading the term in its quest to establish a different organization from the carnival blocks of that time and also the first carnival association to use the group in the future known as bateria , a unit made up of percussion instruments such as the surdo, tambourines and cuícas , which – when joining
25854-416: The primary stress of the measure, and italics denote a secondary stress. Syllables such as "and" are frequently used for pulsing in between numbers. Simple : 4 is a simple triple meter time signature that represents three quarter notes (crotchets), usually perceived as three beats. In this case the subdivision would be the eighth note (quaver). It is felt as Compound : Most often, 8
26040-436: The programming, the radio became more attractive and safe for advertisers and – added to the increase in sales of radio sets in the period – transformed this telecommunication medium of its function once educational for an entertainment powerhouse. With the contribution of financial resources from advertising, the broadcasters began to invest in musical programming, turning the radio into the great popularizer of popular music in
26226-416: The prohibition on the exercise of certain professions or economic practices linked to subsistence, especially of the poorest. The situation of this population worsened further with the urban reforms in the center of Rio , whose widening or opening of roads required the destruction of several tenements and popular housing in the region. As a result, these homeless residents were temporarily occupying slopes in
26412-448: The protection of important personalities of Rio society who supported and frequented the musical circles of the "Pequena Africa", the new Estaciano sambistas suffered socio-cultural discrimination, including through police repression. A popular neighborhood with a large Black/mixed contingent , Estácio was one of the great strongholds of poor samba musicians situated between marginality and social integration, who ended up being stigmatized by
26598-406: The public, and the Brazilian music industry as "samba", this pioneering style was much more connected from the rhythmic and instrumental point of view to maxixe than to samba itself. Samba was modernly structured as a musical genre only in the late 1920s from the neighborhood of Estácio and soon extended to Oswaldo Cruz and other parts of Rio through its commuter rail . Today synonymous with
26784-646: The region soon benefited from urban reforms to house the Portuguese. Chief among the promoted changes were the transformation of agencies of public administration and justice, the creation of new churches and hospitals, the foundation of the first bank of the country (the Bank of Brazil ) and the Royal Press, with the Gazette do Rio of Janeiro. The following years witnessed the creation of the Jardim Botânico (Botanical Garden) and
26970-435: The relocation of the federal capital to Brasília in 1960, the city of Rio de Janeiro became Guanabara State . Niterói remained the state capital for Rio de Janeiro state, while Rio de Janeiro served the same status for Guanabara. In 1975, a further change took place, with the merger of the states of Rio de Janeiro and the state of Guanabara, restoring the then city-state to the status of a municipality, governed by mayors. In
27156-401: The rhythm of samba, this new samba brought innovations in rhythm, melody and also in thematic aspects. Its rhythmic change based on a new percussive instrumental pattern resulted in a more "batucado" and syncopated style – as opposed to the inaugural "samba-maxixe" – notably characterized by a faster tempo, longer notes and a characterized cadence far beyond the simple ones palms used so far. Also
27342-487: The samba de coco and the sambada (also called coco de roda), the samba de matuto, the samba de caboclo and the jongo . One of the most important forms of dance in the constitution of the choreography of the Carioca Samba, the samba de roda practiced in Bahia's Recôncavo was typically danced outdoors by a soloist, while other participants of the roda took charge of the singing – alternating in solo and chorus parts – and
27528-420: The same beat pattern, they would conventionally be used for increasingly slow music. A 20th century example is " O Fortuna " (1935–1936) by Carl Orff , which begins slowly in 1 , and then speeds up and changes to 2 . Signatures that do not fit the usual simple or compound categories are called complex , asymmetric , irregular , unusual , or odd —though these are broad terms, and usually
27714-468: The same meter, the time bend can vary from non-existent to considerable; in the latter case, some musicologists may want to assign a different meter. For example, the Bulgarian tune " Eleno Mome " is written in one of three forms: (1) 7 = 2+2+1+2 , (2) 13 = 4+4+2+3 , or (3) 12 = 3+4+2+3 , but an actual performance (e.g., "Eleno Mome" ) may be closer to 4+4+2+3 . The Macedonian 3+2+2+3+2 meter
27900-408: The signature's note values. Either way, the next lower note value shorter than the beat is called the subdivision . On occasion a bar may seem like one singular beat. For example, a fast waltz, notated in 4 time, may be described as being one in a bar . Conversely, at slow tempos, the beat might even be a smaller note value than the one enumerated by the time signature. Mathematically
28086-704: The singing and rhythm of African batuques, whose most well-known variants were samba corrido and the samba chulado. In the São Paulo State , another primitive modality of known rural samba developed, practiced basically in cities along the Tietê River – from the São Paulo city, until its middle course – and traditionally divided between samba de bumbo – with only instruments percussion, with bumbo – and batuque de umbigada – with tambu, quinjengue and guaiá. Essentially made up of two parts (choir and solo) usually performed on
28272-505: The soundtrack, the plot or even the main theme of the cinematographic work. The good public acceptance of the short film "A Voz do Carnaval" (by Adhemar Gonzaga ) paved the way for several other cinematographic works related to rhythm, many of which had a strong presence of radio idol singers in the cast, such as "Alô, Alô, Brasil! ", which had sisters Carmen and Aurora Miranda , Francisco Alves, Mário Reis, Dircinha Batista , Bando da Lua , Almirante, Lamartine Babo, among others. The advent of
28458-456: The state is represented by Mimosa , the beta star in the Southern Cross (β Cru). The original demonym for the State of Rio de Janeiro is fluminense , from Latin flumen, fluminis , meaning "river". While carioca (from Old Tupi ) is an older term, first attested in 1502, fluminense was sanctioned in 1783, twenty years after the city had become the capital of the Brazilian colonies, as
28644-656: The state's leading universities are public. The most prestigious university is the Federal University of Rio de Janeiro , regarded as the best Federal university in Brazil , and fifth best in Latin America according to the QS World University Rankings . Some other well-known colleges, and universities in the state: Much of the economy of the state of Rio de Janeiro is based on the provision of services, with
28830-499: The state's mountainous interior and connects Rio de Janeiro to the northeastern region of Brazil. The BR-040 connects Rio to Minas Gerais and its capital Belo Horizonte . Also of note is the Metropolitan Arc , which surrounds the capital with the aim of removing unnecessary traffic from this area, and which is in the process of being fully completed, with only 23 km of duplication of an old existing section missing. Recently,
29016-402: The state. Combined with the incitement to favelas, where Brizola said for example that "the favela is not a problem, the favela is a solution", the capital has deteriorated in a few decades, dragging down the State. The state still maintains itself as the largest oil producer in Brazil (80% of the total), where royalties and special participations brought the state 4.2 billion reais in 2014, when
29202-400: The state. The Brazilian census of 1920 showed that 39,74% of the Portuguese who lived in Brazil lived in Rio de Janeiro. Including all of the Rio de Janeiro, the proportion raised to 46,30% of the Portuguese who lived in Brazil. The numerical presence of the Portuguese was extremely high, accounting for 72% of the foreigners who lived in the capital. Portuguese born people accounted for 20,36% of
29388-455: The street, at the backyard feijoadas or at dawn, on street corners and in bars. Then the police used to come and bother us. But it didn't bother the guys of (carnival rancho) Amor, which had a headquarter and license to parade at the carnival. We decided to organize a carnival bloc, even without a license, that could allow us to go out at the carnival and do samba all year round. Organization and respect, without fights or huffing, were important. It
29574-415: The subjectivity of subjectivity and feeling. As their releases took place outside the carnival season, the trend was linked to the so-called "mid-year samba". However, during the 1930s, the term samba-canção was used arbitrarily to designate many compositions contained under the name of "samba de meio de ano" ("mid-year samba"), but which did not fit as samba-canção themselves. On the other hand, many sambas at
29760-436: The time of their releases would later be recognized as samba-canção, as in the case of works by Noel Rosa and Ary Barroso . Not by chance, Zuza Homem de Mello and Jairo Severiano consider that this samba style was truly inaugurated with the second version of the song "No rancho fundo", with melody by Ary Barroso and lyrics by Lamartine Babo . Basically, Carnaval was reserved for the launch of marchinhas and sambas-enredo ,
29946-472: The time signatures of, e.g., 4 and 8 are interchangeable. In a sense all simple triple time signatures, such as 8 , 4 , 2 , etc.—and all compound duple times, such as 8 , 16 and so on, are equivalent. A piece in 4 can be easily rewritten in 8 , simply by halving the length of the notes. Other time signature rewritings are possible: most commonly
30132-407: The topic disseminated a broad conceptual terminology, including denominations later enshrined in new sub-genres – such as samba-canção , samba-choro , samba-enredo , samba-exaltação [ pt ] , samba-de-terreiro [ pt ] , samba de breque -, as well as registered scores and released labels and album covers printed various nomenclatures for samba in an attempt to express
30318-431: The tradition of belcanto style . These recordings followed an aesthetic pattern characterized by structural similarities to the lundu and, mainly, to the maxixe . Because of this, this type of samba is considered by scholars as "samba-maxixe" or "samba amaxixado". Although the samba practiced in the festivities of Bahian communities in Rio was an urban stylization of the ancestral "samba de roda" in Bahia, characterized by
30504-523: The traditional music of neighboring peoples (e.g., the Bulgarians ). He suggested that such timings can be regarded as compounds of simple two-beat and three-beat meters, where an accent falls on every first beat, even though, for example in Bulgarian music , beat lengths of 1, 2, 3, 4 are used in the metric description. In addition, when focused only on stressed beats, simple time signatures can count as beats in
30690-520: The upper classes in Rio as "dangerous" rascals. Because of this infamous brand, the Estaciano samba suffered great social prejudice in its origin. To avoid police harassment and gain social legitimacy, Estácio's samba musicians decided to link their batucadas to carnival samba and organized themselves in what they christened as samba schools. At the end of the carnival, samba has continued because we did samba all year. At Café Apolo, Café do Compadre, across
30876-513: The value of the rhythm invented by black Brazilians. The Municipal Theater of Rio became the stage for elegant carnival balls attended by the high society. Having contact with the popular genre through samba and choro circles meetings, the renowned conductor Heitor Villa-Lobos promoted a musical meeting between the American maestro Leopold Stokowski with the sambistas Cartola, Zé da Zilda, Zé Espinguela, Donga , João da Baiana [ pt ] and others. The recording results were edited in
31062-561: The vicinity of these old demolished buildings, such as Morro da Providência (mainly occupied by former residents of the Cabeça de Porco tenement and former soldiers of the War of Canudos ) and Morro de Santo Antonio (especially by ex-combatants of the Brazilian Naval Revolts ). In a short time, this type of temporary housing was permanently established in the urban landscape of Rio, originating
31248-472: The works of the first generation of Donga, Sinhô and company, the sambas produced by the Estácio group also stood out for a greater countermetricity , which can be evidenced in a testimony by Ismael Silva about the innovations introduced by him and his companions in the new urban samba in Rio: At that time, samba did not work for carnival groups to walk on the street as we see today. I started noticing that there
31434-453: Was "Brasil Pandeiro", by Assis Valente, a huge hit with the vocal group Anjos do Inferno in 1941. At the turn of the 1940s, samba de breque emerged, a sub-genre marked by a markedly syncopated rhythm and sudden stops called breques (from English word break , Brazilian term for car brakes ), to which the singer added spoken comments, generally humorous in character, alluding to the theme. The singer Moreira da Silva consolidated himself as
31620-450: Was accused of appropriating other people's songs or verses – to which he justified himself with the famous maxim that samba was "like a bird" in the air, it is "whoever gets it first". This defense is part of a period in which the figure of the popular composer was not that of the individual who composed or organized sounds, but the one who registered and disseminated the songs. In the era of mechanical recordings , musical compositions – under
31806-480: Was called "Deixa Falar" as it despises the middle class ladies of the neighborhood who used to call people a vagabond. We were malandros, in a good way, but vagabonds weren't. According to Ismael Silva – also a founder of Deixa Falar and the creator of the expression "samba school" – the term was inspired by the Normal school that once existed in Estácio, and therefore the samba schools would form "samba teachers". Although
31992-544: Was documented in the publication in a note opposing the sending of soldiers to the c ountryside of Pernambuco State as a disciplinary measure, as there they could be idle and entertained with "fishing of corrals [traps to catch fish], and climbing coconut trees, in whose hobbies viola and samba will be welcomed ". Another old appearance was recorded in the humorous Recife newspaper O Carapuceiro , dated February 1838, when Father Miguel Lopes Gama of Sacramento wrote against what he called "the samba d'almocreve" – not referring to
32178-409: Was fixed to pay the artists, a model that triggered a fierce dispute between radio stations to form its professional and exclusive casts with popular stars of Brazilian music and also philharmonic orchestras . The most important samba singers, such as Carmen Miranda , started signing advantageous contracts to work exclusively with a certain radio station. The institution of auditorium programs created
32364-469: Was in this environment that Vagalume, then a columnist for Jornal do Brasil , witnessed the birth of "O Macaco É Outro" in October 1916. According to the journalist, this samba immediately won the support of the popular people who left singing the music in an animated block. Donga registered the work in sheet music and, on 27 November of that year, declared himself as its author in the National Library, where it
32550-400: Was mainly printed by European arrangers, among them Simon Bountman, Romeu Ghipsmanm, Isaac Kolman and Arnold Gluckman, conductors whose erudite formation ended up giving a European symphonic sound in the counter-metric rhythm and batucada of the samba from Estacio. Another reason for the success of the new samba in the music industry was the introduction of the "second part", which stimulated
32736-418: Was one of a number of irregular-meter compositions that The Dave Brubeck Quartet played. They played other compositions in 4 ("Eleven Four"), 4 (" Unsquare Dance "), and 8 (" Blue Rondo à la Turk "), expressed as 8 . "Blue Rondo à la Turk" is an example of a signature that, despite appearing merely compound triple, is actually more complex. Brubeck's title refers to
32922-481: Was registered as "carnival samba" called " Pelo Telefone ". Shortly after, the score was used in three recordings at Casa Edison record label. One of them interpreted by Baiano [ pt ] with the accompaniment of classical guitar, cavaquinho and clarinet. Released in 78 rpm format on 19 January 1917, "Pelo Telefone" became a huge hit in that year's Rio carnival. Two instrumental versions were also released – recorded by Banda Odeon and Banda de 1º Battalion of
33108-400: Was swiftly shut down, with musicians arrested and their instruments destroyed. As a result, Samba had to go underground; it relied on community members to assume the risk of persecution to have Samba parties out of their homes. Ultimately samba became a hallmark of Brazilian culture, highlighted at Carnival , but it was not always that way, as in its origins practicing samba was defiance against
33294-414: Was synonymous with maxixe – a kind of the last Brazilian stage of European polka . For the samba musicians from the hills of Rio, samba was the last Brazilian stage of Angolan drumming that they proposed to teach to Brazilian society through samba schools. This generational conflict, however, did not last for long, and Estácio's samba established itself as the rhythm par excellence of Rio's urban samba during
33480-462: Was the case with Carmen Miranda as a big star at Cassino da Urca. In an unusual event for the universe of sambistas on the hill, composer Cartola performed for a month at the luxurious Casino Atlântico, in Copacabana , in 1940. The consolidation of samba among Brazilian elites was also influenced by the valorization of the ideology of miscegenation in vogue with the construction of nationalism under
33666-488: Was the first duplicate highway in the country, in 1967. The section of the BR-101 is the one that connects the capital to the border with Espírito Santo , passing through important towns such as Niterói , bordering Cabo Frio and Búzios , then Macaé and finally Campos dos Goytacazes . The section between Rio Bonito and Campos, bidding to have its 176 km duplicated, already has 126 km doubled. BR-116 passes through
33852-400: Was the first recorded in studio with the percussion that would characterize the genre from there: tamborim, surdo, pandeiro, ganzá, cuíca, among others. Although there was the presence of these percussive instruments, the samba recordings in the studio were characterized by the predominance of musical arrangements of orchestrated tone with brass and string instruments . This orchestral pattern
34038-447: Was the third largest private iron ore terminal in Brazil, where it is responsible for 30% of the country's oil exports. In addition, in 2023, it was building the largest thermoelectric park in Latin America, and it houses the largest offshore support base in the world. The sport that stands out the most in the state is football . The three main football clubs in Rio de Janeiro are Botafogo , Fluminense and Vasco da Gama . The state
34224-465: Was the valorization of the "second part" of the compositions: instead of using the typical improvisation of the samba circles of the alto party or carnival parades, there was the consolidation of pre-established sequences, which would have a theme – for example, everyday problems – and the possibility of fitting everything within the standards of the phonograph recordings of 78 rpm at the time – something like three minutes on 10-inch discs. In comparison to
34410-405: Was this thing. The samba was like this: tan tantan tan tantan . It was not possible. How would a bloc get out on the street like that? Then, we started making a samba like this: bum bum paticumbum pugurumdum . The intuitive onomatopoeia built by Ismael Silva tried to explain the rhythmic change operated by the sambistas of Estácio with the bum bum paticumbum pugurumdum of the surdo in marking
34596-484: Was to interfere in music production to promote samba as a means of "pedagogical" socialization, that is, by banning compositions that confront the regime's ethics. In this quest to "civilize" samba, political bodies such as the Department of Press and Propaganda (DIP, Departamento de Imprensa e Propaganda ) took action to order sambas that would exalt the work and censor lyrics that addressed bohemia and malandragem , two of
#275724